Fattburger - Sizzlin' (2003)

The uncredited blurb on the back insert claims this is "The definitive Smooth Jazz Supergroup at the top of their game!" I'm not sure about all that, but I will say this album is very easy to listen to. I wish I had found it back when it was released in 2003 as it would have fit in with the music I often listened to when I was working on my first graduate degree which was a lot of Chris Botti and Down to The Bone.

Album chart peaks:

• US Billboard 200: Did not chart
• Billboard Contemporary Jazz: #16

Tracks: Like I mentioned earlier, it all goes down smooth and easy. At various times, tracks echo back to music from Najee, Spyro Gyra, Tom Scott, Rippingtons, and George Benson. I'm not saying that it's all derivative, I'm saying that the group was hitting to all fields on this one.

Personal Memory Associated with this CD: None

Previously revisited for the blog:
The Best Of Fattburger (1992)

David Bowie - Reality (2003)

Bowie was 56 years old when Reality was released. As I write these words, I am 56 years old. So it's hardly surprising that I like this album better now than I did back in 2003. So when he belts out "I'm never ever gonna get old" and includes the word "OLD" crossed out on the lyric sheet, I'm right there with David as we celebrate our mutual denial.

But Mark, you always say you're not a lyrics guy - what gives? That's true - when Simon sings nonsense about the reflex being a lonely child waiting by the park, that doesn't interest me much. But when we're dealing with themes of "weary retrospection and aging regret," as Bowie does throughout these songs, I've almost got no choice but to pay heed.

As for the music, this thing has plenty of catchy rock riffs and hooks and probably sounded fantastic live. I think many longtime fans would prefer the music to harken back to the '70s sounds more often (admittedly, I find myself wanting to hear a disjunct Robert Fripp solo in a few of these tunes) but why should it? One shouldn't expect Bowie to repeat himself, after all. That said, this album, and the two studio albums that followed over a decade later, make for a nice trilogy with similar sounds and themes. And the more I listen to them, the more I like them.

Press of the time:

• Rolling Stone (★★★): "Reality turns out to be an intriguing place"
• Entertainment Weekly (C+): " Ground control to Major Tom: Ditch the new reality and go back to the old school."
• Metacritic: 74 out of 100 (critics), 8.3 out of 10 (users)

Peak on the US Billboard Top 200 chart: #29
Peak on the Billboard Top Album sales chart: #29

Tracks: The album starts off with a powerful trio of songs, New Killer Star, Pablo Picasso (a cover of the Modern Lovers tune), and Never Get Old. Those cuts all sound fantastic pouring out of your car/truck speakers as you speed down the road with your windows down (I speak from experience). I also really like the dreamy pop of Days, the frenzied title track, and the sublime ballad that closes the album, Bring Me The Disco King.

Personal Memory Associated with this CD: None

Previously revisited for the blog:
★ (2016)
The Next Day (2013)
Zeit! 77-79 (2013)
Changesbowie (1990)
Tonight (1984)
Let's Dance (1983)

Various Artists - No Thanks! The '70s Punk Rebellion (Disc 3) (2003)

THINKING OUT OF THE BOX SET WEEK (MARCH 8 - 14, 2020)*
*In which I've lost/misplaced/can't find/never had one or more CDs in a multi-disc set.

Disc 3 of a 4 disc box set.

Another stellar compilation from Rhino (but, honestly, not as good as Disc 2). Lots of good stuff including some artists with which I was previously unfamiliar. I certainly wasn't listening to punk singles in the late '70s - I would guess I began my punk education around 1982 or so. I can just imagine 13 year old Mark bringing home an album like The Incredible Shrinking Dickies in 1979 and watching my mother faint upon seeing the title.

Peak on the US Billboard Top 200 chart: Did not chart

Tracks:

Song	Artist
Ready Steady Go (from Generation X, 1978)	Generation X
Teenage Kicks (1978 single)	The Undertones
Sex & Drugs & Rock & Roll (1977 single)	Ian Dury	✔
Have You Ever Fallen In Love (With Someone You Shouldn't've?) (from Love Bites, 1978)	Buzzcocks	✔
Rocker U.S.A. (from Suicide, 1977)	Suicide
Mongoloid (single version, 1977)	Devo	✘
Homicide (from Separates, 1978)	999
Mr. Big (from 198 Seconds of The Dils, 1977)	The Dils
Warsaw (from An Ideal for Living, 1978)	Joy Division	✔
Where Were You? (1978 single)	The Mekons
Lexicon Devil (from Lexicon Devil, 1978)	The Germs	✔
(My Baby Does) Good Sculptures (single version, 1977)	The Rezillos
The Wait (from Stop Your Sobbing single, 1979)	The Pretenders	✔
We Got The Neutron Bomb (1978 single)	The Weirdos
Pablo Picasso (from The Modern Lovers, 1976)	The Modern Lovers
Action Time Vision (from The Image Has Cracked, 1978)	Alternative TV	✔
2-4-6-8 Motorway (1977 single)	Tom Robinson Band	✔
We Are The One (from We Are the One, 1977)	The Avengers
Borstal Breakout (1978 single)	Sham 69
Wasted (from Nervous Breakdown, 1979)	Black Flag	✘
Sheena Is A Punk Rocker (single version, 1977)	Ramones	✔
I Love Livin' In The City (single version, 1978)	Fear	✘
She's So Modern (from A Tonic for the Troops, 1978)	The Boomtown Rats	✔
Ghosts of Princes in Towers (from Ghosts of Princes in Towers, 1978)	Rich Kids
We're Desperate (from Adult Books single, 1978)	X
You Drive Me Ape (You Big Gorilla) (from The Incredible Shrinking Dickies, 1978)	The Dickies	✘
Dancing The Night Away (single version, 1977)	The Motors	✔

Personal Memory Associated with this CD: At some point in 2018, I was killing time one work day (shhhh, don't tell The Man) by perusing the bins at one of the local used CD joints. The red oval Rhino logo caught my eye:

Without doing any investigating, I immediately purchased the thing because of said logo and the words "'70s Punk." It wasn't until I returned home and snooped a bit online that I discovered the disc was part of a box set. No matter, it's still an excellent compilation. Still, I wish I had the liner note booklet.

I'm also reminded that I need to listen to more Buzzcocks.

Previously revisited for the blog:
Disc 2

(yeah, it's very lazy to mostly cut-and-paste from yesterday's post, but it's spring break and I'm feeling lazy. The thing is, when you're an adult working in the field of public education, "spring break" translates to "mandatory five unpaid days off" so there's that bitterness, too. And this year, the spring break is a week or two too early, but nobody asked me. Regardless of my bellyachin', I'm enjoying myself and spinning a lot of discs. Was considering heading up I-35 to Austin to catch some SXSW but that's been cancelled over coronavirus fears.)

Various Artists - No Thanks! The '70s Punk Rebellion (Disc 2) (2003)

THINKING OUT OF THE BOX SET WEEK (MARCH 8 - 14, 2020)*
*In which I've lost/misplaced/can't find/never had one or more CDs in a multi-disc set.

Disc 2 of a 4 disc box set which, according to unconfirmed online sources*, got its "No Thanks!" title as a response from John Lydon when asked if the set could include Sex Pistols tunes.

"Like all the great rock revolutions, punk was fueled by singles."

Another stellar compilation from Rhino. Lots of good stuff including some artists with which I was previously unfamiliar. I certainly wasn't listening to punk singles in the late '70s - I would guess I began my punk education around 1982 or so. I can just imagine 11 year old Mark bringing home an album like L.A.M.F. in 1977 and one of my parents asking, "What's that abbreviation mean?"

Billboard, November 15, 2003, p. 23

Peak on the US Billboard Top 200 chart: Did not chart

Tracks:

Song	Artist
Lust For Life (from Lust For Life, 1977)	Iggy Pop	✔
Gary Gilmore's Eyes (1977 single)	The Adverts
Sat'day Night In the City Of The Dead (from Ultravox!, 1977)	Ultravox	✔
What Do I Get? (1978 single)	Buzzcocks	✔
X Offender (from Blondie, 1976)	Blondie	✔
Lookin' After No. 1 (from The Boomtown Rats, 1977)	The Boomtown Rats
Don't Dictate (1977 single)	Penetration
Bingo Master (from Bingo-Master's Break-Out!, 1978)	The Fall	✘
Free Money (from Horses, 1975)	Patti Smith
The Modern World (from This Is The Modern World, 1977)	The Jam
Chinese Rocks (from L.A.M.F., 1977)	The Heartbreakers
New Rose (from Damned Damned Damned, 1977)	The Damned
Ambition (1978 single)	Subway Sect	✔
See No Evil (from Marquee Moon, 1977)	Television	✔
Suspect Device (single version, 1978)	Stiff Little Fingers
Mannequin (from Pink Flag, 1977)	Wire
Baby Baby (from Pure Mania, 1977)	The Vibrators
Love Comes in Spurts (from Blank Generation, 1977)	Richard Hell and the Voidoids
First Time (from The Boys, 1977)	The Boys
Sonic Reducer (from Young Loud and Snotty, 1977)	The Dead Boys
Shot by Both Sides (from Real Life, 1978)	Magazine
Mystery Dance (from My Aim Is True, 1977)	Elvis Costello	✔
Trash (from New York Dolls, 1973)	New York Dolls
The Day the World Turned Day-Glo (from Germfree Adolescents, 1978)	X-Ray Spex
Do Anything You Wanna Do (from Life on the Line, 1977)	Eddie and the Hot Rods	✔

Personal Memory Associated with this CD: At some point in 2018, I was killing time one work day (shhhh, don't tell The Man) by perusing the bins at one of the local used CD joints. The red oval Rhino logo caught my eye:

Without doing any investigating, I immediately purchased the thing because of said logo and the words "'70s Punk." It wasn't until I returned home and snooped a bit online that I discovered the disc was part of a box set. No matter, it's still an excellent compilation. Still, I wish I had the liner note booklet.

I'm also reminded that I need to pick up a copy of Marquee Moon.

*is "unconfirmed online" redundant?

Various Artists - Church: Songs of Soul & Inspiration (2003)

Well this certainly is a pleasant surprise. I got this CD set in a large lot of discs a couple of years ago, glanced at the title, ignorantly figured it for a compilation of hymns or monks chanting or some such, and set it aside. It ain't that at all:

Billboard, May 24, 2003, p. 19

And it is scratching me right where I itch.

I am on record as believing that you can't have gospel music without gospel lyrics, but this stuff exists in a grey area between genres that makes me question such thoughts. But belief cannot exist in the absence of doubt, and since R&B evolved by taking gospel tunes and changing every occurrence of "Jesus" in the lyrics to "baby," I guess it can go the other way, too.

As church sermons I hear seem to be devolving into either prosperity gospel or confirmation bias statements of "God hates the same people I do," it's nice to be reminded about God's mercy, grace, and love, even if it's through Bee Gees lyrics.

Rolling Stone, May 29, 2003, p. 66

Album chart peaks:

• US Billboard 200: #157
• Billboard R&B: #41
• Billboard Gospel: #1

Tracks:

Sweet mama! A gospel take on Stevie Wonder's As? Please and thank you very much. Other standouts include Way Up There (Patti LaBelle) and You Gotta Be (Patti Austin).

I could listen to the late Dr. Maya Angelou read a take-out menu, but when she's reading her own writing, it's top shelf.

The only thing missing is a fast-paced shout piece by an authentic gospel chorus, complete with upbeat clapping and Mrs. Sneed singing too loudly. All the cuts are slow to mid-tempo affairs.

Also included is a second disc allegedly containing performance footage and artist interviews, but this 2003 CD-ROM is not compatible with my current operating system and I'm too lazy to chase down a work-around.

Personal Memory Associated with this CD: Yeah, I'm a preacher's kid, but this music bears little resemblance to the reformed, traditional hymnody I was raised on. Better late than never?

I'm also reminded of a college classmate, George, who grew up in this tradition and could play a mean gospel piano. I would sit in a practice room with George and just listen to him play. Once, I asked him how he learned to play that way - the chromaticism, the chord substitutions and inversions, etc - he shrugged and said he just picked it up.

The Crusaders - Rural Renewal (2003)

Because one simply does not pass over a $2 Crusaders CD languishing in a clearance bin.

This version of The Crusaders was a reunion of sorts ("Sample is quick to point out that 'Rural Renewal' is more about picking up where the group left off than a reunion."), including Joe Sample, Stix Hooper, and Wilton Felder. And lemme tell ya: Joey Samps ain't missed a step - what a monster; not only writing most of the tunes on this CD, but contributing show-stealing solos throughout. The album also includes appearances from Eric Clapton, Ray Parker, Jr., and gospel musicians.

The album won a Grammy Award in the category of Best Jazz Instrumental Performance, Individual or Group.

Billboard, March 15, 2003, p. 34

It's not classic '70s Crusaders, but how could it be? A solid effort, but not the first Crusaders CD I'd grab off the shelves here at blog HQ.

Album chart peaks:

• US Billboard 200: Did not chart
• Billboard Contemporary Jazz: #2
• Billboard R&B: #73

Tracks: I dig the title track, the bluesy Creepin', Shotgun House Groove, and Greasy Spoon, but the other tracks shouldn't be skipped. Exception: the two vocal tunes are well done, but sorely out of place to these ears - I tuned in for instrumental jazz, not vocals.

Personal Memory Associated with this CD: None, but I might not listen to anything except Crusaders and Joe Sample solo albums this entire weekend. Hope the neighbors don't mind; they should be thanking me.

Mannheim Steamroller - Romantic Melodies (2003)

This CD arrived at my home in a batch of other used CDs. I've never heard it before and today is likely the only time I'll spin it. From what I've read, Chip Davis went back to grab some old melodies from the Fresh Aire series and give them some new settings. As allmusic states: "If you like your mood music bleak and lifeless, then this disc of romantic maladies is an ideal selection." To these ears, it sounds like New Age background music from a yoga DVD. Namaste.

Let's check in with the fine reviewers over at Amazon and get their thoughts:

• I use these selections in my massage practice
• it be honest i haven't listened to it yet [sic]
• If you just like music for the sake of music, it is a great album. (ed. note - wha??)
• It is the kind you can use for giving to friends in a special situation. (ed. note - wha??)
• I am almost totally deaf in my left ear, and so music with words is wasted on my ears. (ed. note - wha??)

If you want romantic background music for your next candlelight dinner, might I suggest Diana Krall, Sade, or The Breithaupt Brothers instead?

Do yourself a favor and instead of listening to this CD, educate yourself on where the group's name originated. The Mannheim school of composers were quite innovative in the 18th century. My favorite compositional innovation by the group was not the roller, but the Mannheim rocket. More here.

It's 7:30 AM and this CD has me primed for a nap.

Album chart peaks:

• US Billboard 200: #41
• Billboard Independent: #1
• Billboard New Age: #1

Tracks:

Personal Memory Associated with this CD:

Philip Glass - Heroes/Low Symphonies (2003)

Two disc set of Philip Glass' two symphonies based on themes by David Bowie and Brian Eno. With some exceptions, I find it difficult to recognize the source material, even after reading the titles and revisiting those two albums. Not recommended for fans of Bowie and Eno, but rather for fans of Glass. The works are examples of minimalism, but have been largely ignored for years although there have been a number of "tribute" performances this year following Bowie's death in January.

Disc One:
Symphony No. 4 "Heroes" (1996)
Dennis Russell Davies and Michael Riesman conducting the American Composers Orchestra

The symphony is in 6 movements:

1. Heroes (5:53)
2. Abdulmajid (8:53)
3. Sense of Doubt (7:20)
4. Sons of the Silent Age (8:18)
5. Neuköln (6:41)
6. V2 Schneider (6:48)

Of these, I prefer Heroes and V2 Schneider.

Disc Two:
Symphony No. 1 "Low" (1992)
Dennis Russell Davies conducting the Brooklyn Philharmonic Orchestra

Overall, a much better work than "Heroes" symphony, mainly because it is more lyrical and there are parts where you'd be hard pressed to determine that it is the work of Glass. The symphony is in 3 movements:

1. Subterraneans (15:11)
2. Some Are (11:20)
3. Warszawa (16:01)

The first movement is gorgeous and the best thing on either disc, the second is a fun romp, and the third sounds delightfully like the soundtrack to a Cold War spy thriller (and the movement where it is easiest to identify the source material). This second disc will get more play than the first.

Personal Memory Associated with this CD: Purchased earlier this year after Bowie's death because it just seemed like the right thing to do.

Previously revisited for the blog:
Kronos Quartet Performs Philip Glass (1995)

Brian Culbertson - Come On Up (2003)

An enjoyable album of smooth jazz in the same vein as Brian Simpson and Jeff Lorber (which is a nice way of saying there's nothing here that can immediately identify the artist). Lots of familiar names: Marcus Miller, Norman Brown, Jerry Hey, Rick Braun, etc. The only downside is the use of synth drums - a fad that should have run its course by 2003. Culbertson uses live horns and strings, but synth drums. Go figure. Credit to Culbertson, his writing, and the fact that he plays many instruments: keyboards, percussion, trombone, and trumpet (his dad was a school band director). Most reviews I've read give this 3 out of 5 stars; sound about right.

Album chart Peaks

• US Billboard 200: #197
• Billboard Jazz: #3
• Billboard R&B: #36

Tracks: The better tracks are Say What?, Playin', and the title track, which got a lot of airplay ("lot" being a relative term for jazz radio). I had high hopes for the cover of Earth, Wind & Fire's Serpentine Fire, but after an exciting intro, the thing just lies there. Skippable tracks include Days Gone By and Fly High.

Personal Memory Associated with this CD: None - just picked it up recently out of a used bin for $1.

Dido - Life for Rent (2003)

"MY WIFE BOUGHT WHAT?!?" FORTNIGHT* (JULY 1-14, 2016)

Innocuous soft rock from the UK - if the songwriting were stronger, I'd probably like the thing. Nonetheless, I'm betting there's at least 4 AC hits among this album's 11 tracks.  To the charts reference books! (One moment, please)

...

Dagnabbit, missed it by 1. There were three: White Flag (#4), Don't Leave Home (#22), and Sand In My Shoes (#24) all hit the "Adult Top 40." Note: Billboard doesn't use the word "adult" in the same sense as other parts of the entertainment industry. Being a confessed contrarian, my favorite cuts don't include those three.

Metacritic has it rated at 69/100 - I'd go a little lower, but close enough. Favorite review quote from the defunct dotmusic: "...her bland-o-meter appears to be well and truly busted." This album would still hold up as background music for your next retro-aughts-cocktail party (serve gingertinis or Smirnoff Ice).

Peak on the US Billboard Top 200 chart: #4

Tracks: My favorites are Stoned, Mary's In India and Who Makes You Feel. But, like I've already written, the whole thing won't bother anyone much (except for the fact that there's a hidden track stuck on the end).

Personal Memory Associated with this CD: Dido reminds me of Scrubs, one of the funniest television shows ever conceived. This type of music also reminds me of the Sliding Doors soundtrack.

---

*I recently unearthed a CD carry case that my wife used to carry in one or more of our three former minivans.  This month, in the spirit of this blog's mission, I'll be listening to that case's contents.

Joe Negri - Guitars for Christmas (2003)

Released 12 years ago, I finally purchased this CD this year and it immediately became the most played Christmas CD in this place. This is a swinging run through 18 traditional Christmas classics and one original; all with two electric jazz guitars - Negri and Marty Ashby. But where might I have heard the name Joe Negri before?

Well, in addition to teaching jazz guitar as an adjunct professor at Duquesne University, the University of Pittsburgh, and Carnegie Mellon University, Joe was also known to millions of public television viewers (including myself) as "Handyman Negri" on Mister Rogers' Neighborhood:

Lady Elaine and Handyman Negri
Episode 1556, February 3, 1986

But I digress. If you want a new take on old standards and enjoy the classic, clean electric guitar sound (à la Les Paul), then give this one a try. In my limited experience, this disc works great at night with a warm drink and under the light provided by only a fire in the fireplace and whatever lights you've got on your tree. The arrangements are tasteful while the playing is intimate and impeccable. I wouldn't be surprised if more Negri CD purchases are in my future.

Peak on the US Billboard Top 200 chart: Did not chart

Tracks: 19 tracks, 52 minutes. I get lost in the sound of all of them; it's a good listen from top-to-bottom. Can't pick favorites today (well, maybe God Rest Ye Merry Gentlemen). I'd never thought of Gerry Niewood's composition Joy as a Christmas song, but it fits here. The original piece, In The Happy Long Ago, is one of those pieces that's so well-written you think you've heard it before.

Personal Memory Associated with this CD: None

Madonna & Missy Elliott - Into The Hollywood Groove (2003)

CD Single

In 2003, Madonna and Missy Elliott ran this ad for The Gap:

This was the promo CD tie-in with the ad campaign.

Tracks: 2 tracks, 8½ minutes. The first track is the audio used in the above ad, a clever mash-up of Into The Groove and Madonna's current single Hollywood, with a guest appearance by Missy Elliott. The second track is the 7 minute "Jacques Lu Cont's Thin White Duck Mix" of Hollywood. I don't remember ever hearing Hollywood other than on this single, so I obviously wasn't hitting the clubs in 2003 as it was a #1 dance single on the Billboard charts.

Personal Memory Associated with this CD: You know the drill: buy a pair of jeans at the Gap and get a free Madonna CD single. Evidently we did that. My youngest son's nickname at the time was Hollywood, so he loved it.

Previously revisited for the blog:

Ray Of Light (1998)	Vogue (1990)
Don't Cry For Me Argentina (1997)	Express Yourself (1989)
Evita Soundtrack (1996)	Like A Virgin (1984)
The Immaculate Collection (1990)

Marshall Crenshaw - What's In The Bag (2003)

One of those albums that you have to listen to four or five times to begin to appreciate, then gets better with each subsequent listen. I have to admit that the first time I heard this one, my initial thought was "Where's my freakin' power pop, Marshall?" and didn't think the album got cooking until track 3, a fantastic cover of Prince's Take Me With U. Now that I've spent some time with album, the first two songs are some of my favorites. It would seem that Marshall got older with the rest of us and his writing has matured - his songwriting has always been remarkable and filled with hooks, but what he's putting out now is different, more mellower. Crenshaw has never been one to follow typical chord progressions and thanks for that, plus he's not afraid to mix up the instrumentation: slide guitar, vibraphone, cello, Farfisa organ, and dulcitar all make appearances here. The way the vibes are used, they really fill up the sound of the band; you don't notice them at first and I don't think you're supposed to. Will this replace Crenshaw's earlier, more rockin' albums in my listening rotation? Absolutely not, but it's got a place in the rotation; I don't think it was meant to compete against his earlier output.

Peak on the US Billboard Top 200 chart: Did not chart

Tracks:  As I mentioned above, I initially resisted this album, but now there's no way I could pick favorites and I certainly don't skip any of the 11 tracks here. In addition to the Prince cover, Crenshaw also covers Bootsy Collins' I'd Rather Be With You, which is the most unusual track on the disc. There's also a couple of enjoyable instrumentals here (Despite The Sun and AKA "A Big Heavy Hot Dog"). I've always enjoyed pop/rock instrumentals and always wondered why there weren't more of them. The album ends abruptly, midphrase, like the record needle picked up automatically. I like that.

Personal Memory Associated with this CD: None, but all Crenshaw albums have the same effect on me: at some point today, I'll be singing one of these songs while going about my business at work. Which song and in what context TBD.

Previously revisited for the blog:
Jaggedland (2009)
The Best of Marshall Crenshaw (2000)

The Beatles - Let It Be... Naked (2003)

I can never decide which Beatles' album is my favorite, but I know Let It Be isn't in that discussion. Since most of the band members themselves didn't like it, I don't feel bad about that. I've never bothered to pick up a CD of the original album, produced by "Wall of Sound" pioneer (and convicted murderer) Phil Spector. I picked up this newer version of the album as a curiosity when it was released 10 years ago. Here's the wikipedia breakdown of this reissue's history:

It is a remixed and remastered version of their 1970 album Let It Be. The project was overseen by Paul McCartney, who felt that Phil Spector's production did not accurately represent the group's "stripped-down" intentions for the original album. Let It Be... Naked presents the songs "naked"—without Spector's overdubs and without the incidental studio chatter featured between most cuts of the original album. Let It Be... Naked also replaces "Dig It" and "Maggie Mae" with "Don't Let Me Down", originally featured as the B-side of the "Get Back" single.

Far from being naked, these tracks are all very well produced. I'm not familiar enough with most of the original album to tell the difference between the Spector originals and these tunes. The only exception are the McCartney ballads, The Long And Winding Road and Let It Be, which I think are much better in these stripped-down versions opposed to the over the top orchestrations of the familiar original releases. Not surprisingly, this reissue got mixed reviews (the album rated at 68 over at Metacritic). That 68 may be a little high. There's nothing absolutely essential here. Will I lose my music blogging license for not gushing over a Beatles album?

Peak on the US Billboard Top 200 chart: #5 (the original Let It Be album spent 4 weeks at #1 in the summer of 1970)

Tracks: of the 11 tracks here, only 4 have been ripped to my iTunes: Get Back (w/Billy Preston FTW), Two Of Us, I've Got A Feeling, and the title track. Worst songs here are Don't Let Me Down and I Me Mine.

There's a one track bonus disc which received its own title, Fly On The Wall, which contains song excerpts and dialogue from the many hours of tape which accumulated during the Let It Be sessions. Some of the removed dialogue that had appeared on the original album appears on this disc. The liner notes claim this track is "A unique insight into the Beatles at work in rehearsal and in the studio during January 1969." To me, it sounds like 22 minutes of unnecessary mess very similar to the Anthology series. And about as exciting.

Personal Memory Associated with this CD:  None

Previously revisited for the blog:
Love (2006)
Anthology 2 (1996)
Anthology 1 (1995)
1967-1970 (1973)
1962-1966 (1973)
Abbey Road (1969)
Sgt. Pepper's Lonely Hearts Club Band (1967)
Rubber Soul (1965)
Help! (1965)
Please Please Me (1963)

Steely Dan - Everything Must Go (2003)

As Walter Becker and Donald Fagen get older and more relaxed, Steely Dan's music turns even more jazzier. There's nothing groundbreaking or innovative here and that's just how I like it. Entertainment Weekly claimed that this album is full of "tunes that are 30 years old at this point." But when you're my age, you can't take those words pejoratively. The group's characteristic lush harmonies, sonic textures, and intricate arrangements are all present which should make old SD fans happy but won't grab any new fans. The band is tight, but I sure wouldn't have minded if the band had brought back some old friends (Steve Gadd, Jay Graydon, Wayne Shorter, etc) for this one. I think I like this album because (for the most part) it sounds more like The Nightfly than any subsequent Fagen solo album. As of this writing, this is Steely Dan's most recent release; Fagen has released two solo albums since 2003.

Peak on the US Billboard Top 200 chart: #9 (June 28, 2003)

Tracks: The better tracks are The Last Mall, Blues Beach, and Lunch With Gina. I'm not wild about Green Book or Becker's vocals on Slang Of Ages.

Personal Memory Associated with this CD: None

Previously revisited for the blog:
Two Against Nature (2000)
Alive In America (1995)
A Decade of Steely Dan (1985)
Aja (1977)

David Sanborn - Timeagain (2003)

One of the best saxophonists in smooth jazz makes his debut on Verve Records. This CD features a top notch backing band, including one of my favorite drummers, Steve Gadd, and vibraphonist Mike Manieri, with whom I am familiar because of his participation with Steps Ahead. The disc starts off with 7 covers of standards and pop tunes and ends with 3 originals.

The album was nominated for a Grammy Award in the category of Best Contemporary Jazz Album, eventually losing to 34th N Lex by Randy Brecker.

Peak on the US Billboard Top 200 chart: #177 (June 21, 2003)

Tracks: Of the covers, my favorites are Comin' Home Baby and Tequila. I was unfamiliar with Joni Mitchell's Man From Mars, but the cover here is one of the better songs on the album; it wouldn't be out of place on one of Sanborn's 80's albums like Backstreet. I can appreciate that the band is trying to put its mark on these tunes, but I don't particularly care for the arrangements of Harlem Nocturne and Isn't She Lovely. The three original tunes fit in well with Harlem Nocturne vibe, with the best of these three being Little Flower.

Personal Memory Associated with this CD:  None

Previously revisited for the blog:
The Best of (1994)
Upfront (1992)
A Change of Heart (1987)
Backstreet (1983)
As We Speak (1982)
Voyeur (1981)

Seal - IV (2003)

Probably the least favorite Seal album that I own (currently, I don't have any of his albums after 2004). It also contains one of my favorite Seal singles, Waiting For You. I believe Seal (or Warner Bros) scrapped an entire album in 2001, tentatively titled Togetherland, then recorded this. If it weren't Seal, this would be a pretty good pop album, but since my expectations are so high for Seal, this is a bit of a disappointment.

Here's the best description I've read of Seal's music, coming from critic David Medsker:

Sealhenry Samuel has always been a little bit out of his time. He writes folk songs, belts them out like a penniless soul singer, and then has Trevor Horn produce them, guaranteeing that by the time Horn is finished with them, they will sound absolutely nothing like either folk or soul. His songs are passionate and deeply heartfelt, yet hits the music scene in 1990, one of the most soulless years in pop music history.

I can't add anything to that. The problem with this album, though, isn't the performances or the production, it's the material. Overall, the writing just isn't as strong as previous releases.

Peak on the US Billboard Top 200 chart: #3 (Sept 27, 2003)

Tracks: Waiting For You is easily the best cut here. The first track, Get It Together, is a fun disco romp. Also good are My Vision, the waltz of Don't Make Me Wait, and Loneliest Star. I usually skip Love's Devine and the reggae-lite of Where There's Gold.

Personal Memory Associated with this CD: This is the first album I can recall that was available in its entirety streaming through the artist's website. Before I bought the CD, I often streamed it into my newly built office in the cotton fields of El Maton.

Previously revisited for the blog:
Human Being (1998)
Seal (1991)

Bernie Williams - The Journey Within (2003)

I bought this smooth jazz CD as a curiosity after seeing Williams on some TV news magazine promoting this release. He was still playing pro baseball and in the middle of a 7-year, $87.5-million contract with the New York Yankees. The man has won 4 World Series and was 5 time All-Star. It almost pains me to say it, but he's a good Latin-jazz guitarist, too. Born under a good sign, I guess. Either that or hard work. The CD is a mixed bag, but for an off-season baseball player, I shouldn't complain. But I'm going to complain anyway: Williams' main problem is that, while this isn't bad, there's nothing that really sets him apart from the rest of the crowd. Maybe that's why I found my "Limited Edition" in a cut-out bin (my copy is #32,123 of 50,000). Williams retired from baseball in 2006 and released another CD in 2009; I haven't heard that one.

Peak on the US Billboard Top 200 chart: #157 (Oct 25, 2003)

Tracks: As a songwriter, Williams doesn't do badly at all. The Williams-penned tunes I favor are La Salsa En Mi, Just Because, and Stranded On The Bridge. Of the other tunes, I like Samba Novo. Stay away from the cover of Kansas' Dust In The Wind and the self-indulgent bonus track, The Williams Kids, which is just his kids singing the contemporary Christian song, I Could Sing Of Your Love Forever, followed by some poetry reading and piano playing. Strangely, there's also a throwaway dance track included titled Enter The Bond.

Personal Memory Associated with this CD: None.

Belle and Sebastian - Dear Catastrophe Waitress (2003)

While I had heard of Belle & Sebastian, I was never particularly moved to purchase any of their music. This could be due to the following interaction between workers at a record store from the 2000 movie High Fidelity:

Barry: Holy shite. What the fuck is that?
Dick: It's the new Belle and Sebastian...
Rob: It's a record we've been listening to and enjoying, Barry.
Barry: Well, that's unfortunate, because it sucks ass.

In any case, when I found out that Trevor Horn, one of my favorite producers, was working with the band on this album, I figured I'd give them a shot. It's decent pop, but a little too folky and precious for my tastes. Also, the chord changes are fairly predictable, which makes for uninteresting music. If 10,000 Maniacs and Everything But The Girl had a baby with Up With People and that offspring had recorded a CD in 2003, it might have sounded something like this. It's easy to listen to and the production is fantastic, but it's enough B&S for me; it's the only CD by the group I own. It doesn't suck ass, Barry, but I don't listen to this CD much.

Peak on the US Billboard Top 200 chart: #84 (Oct 25, 2003)

Tracks: Step Into My Office Baby, If She Wants Me, and Roy Walker are worth listening to. I avoid You Don't Send Me, Wrapped Up In Books, and Lord Anthony, I really wanted to Piazza New York Catcher to be awesome with clever lyrics, but it falls way short with minor key guitar and bad lyrics. Stay Loose is an interesting new wave-ish track that is very out of place here. I'd like to call the rest bubblegum filler, but bubblegum has a little too much mass for that metaphor to work. Maybe cotton candy filler would be more apt.

Personal Memory Associated with this CD: By the time I got to grad school in 2004, I had pretty much given up on listening to new music. But that's where I met my friend Blake and he was listening to new music and talking to me about it, so I figured I'd better step up and start listening to new stuff, too. That led to the purchase of several CDs that I wouldn't normally have purchased; some good, some not so much. This is one of those CDs. There was probably a better way to spend my student loan money, but I can't think of it right now.

John Mayer - Heavier Things (2003)

"It's the kind of record you hate yourself for liking." (Q Magazine, Dec 2003, p.132)

A more complete album than 2001's Room For Squares, this sounds like Bruce Hornsby-meets-Chicago-meets-Dave Matthews. Lots of loops and horns by producer Jack Joseph Puig. Strong pop songwriting strongly rooted in the 1970s, Mayer's got a good voice, but his guitar playing is hardly present at all. That's a shame because it's his strong suit. Still, I like this (along with most white females in their 20's), mainly because I have a soft spot for '70s soft rock. Note: when I praise Mayer's songwriting, I'm only talking about the music, not the lyrics. Remember that I'm normally not much of a lyrics guy; I have no idea what dude is singing about.

Peak on the US Billboard Top 200 chart: #1 (1 week, Sept 27, 2003)

Tracks: even though this holds together as a solid album, the standout tracks are Clarity, Bigger Than My Body, New Deep, and Home Life. You can skip Come To Back to Bed and Wheel. I'm usually not a fan of ballads or pop songs in 3/4, but I've always liked the song Daughters. I must not be alone as that song won multiple Grammy awards in 2005. I've read that Mayer didn't think Daughters was strong enough to be released as a single, but I think it is the best song on the disc.

Personal Memory Associated with this CD: None. I think I bought this CD for my wife. That's my story and I'm sticking to it.

Previously revisited for the blog:
Where The Light Is: Live In Los Angeles (2008)